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Cool Hand Luke
By Russell Bouthiller Godlight Theatre's adaptation of the novel, Cool Hand Luke, offers a gritty atmosphere, sound performances and a hard story to tell. Based on the Don Pearce novel and adapted for the stage by Emma Reeves, The Godlight Theatre Company presents Cool Hand Luke, one of Paul Newman’s most iconic film roles. Directed by Joe Tantalo—Godlight’s artistic director—this barebones production relies on cool theatrics to delivery the story of one man’s illusions of strength and ultimate weakness. Cool Hand Luke tells the forlorn tale of Luke Jackson, a man who did well in the big war, only to find a rowdy meaninglessness to his life post bellum. Sentenced to two years hard labor in a Florida state prison for removing the heads of parking meters, Luke clearly has a problem with authority. What we have here is a failure to adapt.
Of course, “What we have here is a failure to communicate” is the screenplay’s most famous line, eerily delivered by Strother Martin in the role of Captain. In this adaptation, which is based on the novel and not the screenplay, the villain is called Boss Godfrey and he does not deliver that line. Why the name-change in the film is anyone’s guess. Perhaps, the name Godfrey did not convey the sadistic nature vital to the character. Such symbols are what this production lacks, yet creates at the same time. The impressions of the film of are so strong: Newman’s piercing blue eyes; Martin’s shrill voice. It’s nearly impossible to avoid comparisons if you’ve seen the movie. But, under Tantalo’s direction, credit must be given to the production effects replete with focused inference and Maruti Evans eerily suggestive lighting. Luke, played solidly by Lawrence Jensen, simply has not yet developed that star wattage that Newman had, a shimmer that dimmed the “stuck in a groove” problem this story cannot avoid. Luke starts out pretty much where he finishes and it’s episodic along the way. He’s an unrepentant bad boy and not one that you really like, unless he is one of the best-looking men of the century. Still, Jensen finds his own voice and creates a compelling figure. It’s the story that lets him down, not the other way around. Nick Paglino plays the villain with pitched archness. The remaining players of this able nine-person company include Mike Jansen, Lars Dres, Brett Warnke, Jason Bragg Stanley, Jarron Zayas Ken King, Kristina Doelling and Julia Torres whose vocal contribution colors the steamy Florida despair. Cool Hand Luke, the sobriquet earned for his prowess with the playing cards, offers a gritty atmosphere, sound performances and a hard story to tell. What we have here is a deficit of Hollywood make-up to hide the blemishes. 
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